INTERMEDIATE JAZZ CONCEPTION STUDY GUIDE ADDITIONS (ALTO)
|
|
- Nelson Perry
- 6 years ago
- Views:
Transcription
1 INTERMEDIATE JAZZ CONCEPTION STUDY GUIDE ADDITIONS (ALTO) 1. Splank Street- 1. Dynamic contrast gives this piece a sense of drama. Observe dynamics closely, maintaining a centered and resonate sound at all volumes. 2. The tempo of this piece is tricky, and can sound stiff if not played with a good, consistent time feel. Keep the music relaxed and swinging. 3. To work on your time, practice scales with a metronome on beats 2 and 4 at slow tempos, trying to be as accurate as possible. 4. Observe how the use of rests frame ideas and let them sort of be contemplated by the listener. This also lets the music breathe and gives the rhythm section a chance to interact with the soloist.this is especially apparent in measures 57, 59-61, where Peter Washington plays great bass lines to fill in the rests. 5. Listen closely for slight bends on notes that give the music more personality. When you hear the soloists do a bend, stop the cd and practice that one note, trying to re-create the bend. Count Basie- Frankly Basie Louis Armstrong- 16 most requested songs 2. Melon Island- 1. This piece has a funky, straight eighth-note feel similar to the pieces on many recordings on the Blue Note record label in the 1960 s. 2. Throughout the piece, the F concert minor pentatonic and blues scale are used. In fact, this sound can be used on both the D minor chord and Bflat 7 chord by finding notes that are common to each chord (i.e. D, F, G, Aflat andc ), creating a nice continuity and flow. Measure As with Splank Street, rests let the piece groove and breathe. 4. Pay close attention to the long-short articulation markings. This gives the lines a more percussive effect, pushing the lines along.
2 Page 2 Herbie Hancock-Empyrean Isles Wayne Shorter- Adam s Apple 3. Green Fin- 1. The use of a pedal on the intro and the first 8 measures of each a section, along With Kenny on brushes creates and airy, ethereal quality. Don t play to aggressively on the soft sections, trying to be as musical as possible. Create a mood! 2. Be crisp and accurate with articulation when playing lines coming out of the pedal as the lines were created to provide contrast and forward motion after the sparser pedal sections. 3. Notice that Peter plays in two after the pedal on the first chorus, and in four after the pedal in the second chorus, going back to the pedal on the tag 4. There are many II-V-I ideas in this etude, many of which use the flat9 sound on the V chord. Pay close attention to the timing of the ideas. Measure 32 Miles Davis- 58 Miles Bill Evans- On Green Dolphin Street 4. St Sonny 1. When playing latin-flavored music, try to stay on top of the beat. In other words, don t drag. One way you can practice this is to set the metronome at quarter note = 60. Play quarter notes along with the metronome, trying to be very accurate and playing exactly in time. Then try to play slightly ahead of the beat, and lastly slightly behind the beat. This exercise will help you hear the time more clearly. 2. This etude is very much in the style of Sonny Rollins. Notice that there are many simple, diatonic-type ideas throughout. This gives the solo a nice, melodic quality that resonates in the listeners ear. In fact, until chorus 5, there are only a couple of accidentals.
3 Page 3 3. When soloing on these changes, it s possible to improvise using only the concert c major scale. Again, the key is to be melodic and lyrical. You can also play ideas that define the chord changes, as in measures Alternating between diatonic ideas and chord tone-based ideas will give your soloing a nice contrast on these type of changes. 4. A few of the ideas are based on riff-like figures (measure 18-25, 37-40). Riffs are short ideas that are repeated, sometimes with slight variation. They can provide a interesting flow and continuity to a solo. Sonny Rollins- Saxophone Colossus Cedar Walton-Live at Boomers 5. Voyage 1. This latin piece is in a more modern, modal style than St. Sonny. All but one chord in the piece uses a dominant sus sound, giving the piece an open, airy feeling. The scale used on a sus chord is the same as the normal dominant 7 chord, which is mixolydian. 2. Make sure to get inside the mood of this piece. Playing too aggressively though out probably will not sound very good. Make the lines sound as smooth as possible. 3. Thematic development is used in this piece. An idea is stated, then developed in the following phrase, as in measures In a few places, there are repeated noted in phrases, giving the idea a kind-of insistent feeling. (measure 8-9, 30-31, 42). Listen suggestion- Herbie Hancock- Maiden Voyage 6. Confirmed- 1. This is a very difficult tempo to make feel right. Your articulation must be solid, and the eighth notes need to be relaxed and swinging. As mentioned earlier, practice with a metronome, this time putting the metronome on beats 2 and 4 at half note =66. Play
4 Page 4 scales in eighth notes, using jazz articulation explained in the appendix, and be precise as to the placement of each note within the time. 2. The symbol indicates a turn. In this case the exact rhythm it would look like this- You add a note above the written one, then return to that note, in a triplet figure. 3. There are many one-measure and two-measure II-V-I ideas in this piece, which is the most common chord progression in jazz. This would be a good piece to memorize, then extract the various ideas and use them on other pieces when you improvise. Notice how the lines are stringed together to navigate the chord progression, as in measure There are a few ideas that are very typical of Charlie Parker, including measures 39-40, and Also, even though the two II-V-I ideas on the second bridge (measures 49-56) are almost completely diatonic within the chord changes, they have a nice shape. This demonstrates that you don t necessarily need to have tension notes outside of the key (i.e. altered V chord) to sound interesting. Charlie Parker- most Verve collections Sonny Stitt- Stitt plays Bird 7. Miles Blues 1. The melody on this blues strongly emphasizes the #11 sound, giving it a mysterious quality. The scale that is used over this sound is the mixolydian #11.
5 Page 5 2. Notice that the melody has many long, sustained notes with little rests. As a contrast, chorus 3 and 4, which are essentially the first two choruses of the solo section, use shorter phrases and long rests. As mentioned in Slank Street these rests help to frame the ideas, and resonate in the listeners mind. When practicing improvising, remember to incorporate rests, playing a phrase then purposely resting for up to two full measures. 3. The ideas used throughout this piece are in the style of Miles Davis, and are very melodic and song-like. The ideas are quite diatonic, with no use of passing tones at all within the entire piece. Notice how each idea has important notes within it that create a certain mood. As the chorus unfolds, the ideas subtly shift moods to compliment the idea before, and give the piece a sense of forward motion and meaning. (Chorus 3) Miles Davis- Milestones Cannonball Adderley- Cannonball and Coltrane 8. Freedom-
6 Page 6 1. This is a fun, soulful piece that emphasizes the 4 th interval sound made popular by tenor saxophonist Eddie Harris. Using 4 th s, in sequence, is an effective way of getting outside of the chord changes, because they create an open effect that doesn t necessarily establish a certain key center, as a sequence of 3 rd s, for example, might. Measure As a contrast to the 4 th sound, there is extensive use of bluesy ideas. In particular, there are several places within the piece that the tri-tone between the 6 th and the flat 3 rd are used in a blues-like context. This produces a nice, bright sounding edge to the idea. Measure Though the piece is based on only one chord, certain harmonic contrasts prevail within a diatonic realm. Specifically, ideas that shift between the major 3 rd and minor 3 rd give the piece an almost blues effect. Measure 41-48
7 Page 7 Eddie Harris- The in sound + Mean greens (Atlantic/Rhino) Miles Davis- Miles smiles 9. Bird s Ballad- 1. The most important thing to keep in mind on a ballad is to be musical. In the end, this is something that must feel deeply, but some specifics can be identified. One of the most important aspects of ballad interpretation is the dynamic shaping of ideas and sustained notes. For example, as a phrase ascends, it is common to get slightly louder, then softer as it descends. Another common trait is to taper the ends of sustained notes. Note-don t overdo dynamic contrast, as this may sound too contrived. Most of what I m talking about is subtle. Measure On the first 4 measures of each of the three A sections, sequence is used. An idea is stated in the first measure of the A section, then repeated with variations in rhythm and harmony. Sequence is an effective way to create a sense of logic and forward motion on a solo, as long as it s musical and not overdone. 3. As on a blues, the blues scale can be used on both the I chord and the IV chord as in measures 5-6, and On this piece, it s a good place to use it after using ideas that emphasize color tones such as the 9 th, 11 th or 13 th. Measure 5-6
8 Page 8 4. Repeating an idea on harmonies that quickly shift up a half step, then back down, is an effective way of navigating these type of chord movements. Measure 15 Charlie Parker- Dail recordings Sonny Rollins- Sonny meets Hawk 10. Trane s Thing- 1. This piece is based on John Coltrane s style of playing around With the exception of one accidental in measure 96, the piece is entirely diatonic, employing folklike melodies throughout. 2. Three pentatonic scales are the basis for many of the lines. The difference between these scales is one or two notes, which add a slightly different color. Using pentatonic scales that are closely related can produce a kind trance-like effect when soloing. Alto c minor, g minor and c minor 6 pentatonic scales
9 Page 9 3. Eighth notes in this style of playing are normally played a little bit more straight. This makes them sound slightly more modern, but they still have to swing. Listen to Coltrane and his pianist McCoy Tyner, during the period mentioned, to hear exactly where this style of playing developed. 4. Notice that there are many rests within this piece. Since the energy level of the piece in general, and the rhythm section in particular, is quite energetic, it s important not to get too excited as a soloist when playing in this style. Doing so often can lead to loss of control. The rests employed in the piece help to keep the music relaxed and let the rhythm section interact (a good example being Kenny Washington s fill in measure 64). John Coltrane- Live at Birdland John Coltrane- Coltrane (Impulse) 11. You need not 1. Contrasting to the eighth notes in Trane s Thing, the eighth notes on this piece are a bit more swung. Note- these are subtle differences. Don t make them to exaggerated or they will sound corny or out of context. Practice this line using jazz articulation. M 39-40
10 Page Both bridges (measure and 57-64) exclusively use the tritone interval (inverted on the second bridge) This gives the bridge a off-center feeling, and is an effective way to get through the quickly moving chords of the last 4 measures of each bridge. Thelonious Monk- Genius of Modern Music Vol 1 Miles Davis- Steamin 12. Things- 1. As mentioned in the Confirmed tips, this tempo requires a relaxed, yet precise, time feel, along with very precise articulation. 2. Notice how the 4 th idea over the chord in measure 21 connects well to the chords in measure 22, even though the tonal centers are a ½ step apart. Measures The ideas in measures 29 and 30 are a tritone apart, which is a common way to alter the V chord and still have good melodic content. Measure In measures 45-67, the ideas trade with the drums, first doing 4 s, then 2 s. Listen closely to what Kenny plays, trying to hear the logic of the rhythms he plays. At the same time, count in your head, and be precise about where your next entrance is. Charlie Parker- Dail sessions Dizzy Gillespie-Groovin High
11 Page Days ago- 1. This tempo is fairly up, so try to stay on top of the time, not playing too hard. When playing faster tempos, the eighth-note length become more even, and articulation is less pronounced. 2. The ideas in measures are the same phrase going down in half steps while the chords are moving around the cycle of 4ths. The ideas are using the concept of tritone substitution, where the chords implied are F#7-F7-E7-Eb7 instead of F#7-B7-E7-A7. 3. When on the I minor chord in choruses 3 and 4 (the solo-type section) there is a strong emphasis of the natural 13. This give the ideas a bit more intensity, largely due to the tritone interval between in and the minor 3 rd. measure measure measure Sonny Stitt Plays- Roost Records Charles Mingus- Mingus Three 14. Stellar- 1. This interpretation of a classic standard is in the style of Miles Davis band in the early 1960 s with George Coleman, Herbie Hancock, Ron Carter and Tony Williams. The ideas are especially similar to George Coleman s, with clear melodic content, interesting altered V7 ideas and use of the 4 th interval.
12 Page One very nice sound is to use the #2 on the locrian sound, as in measure 25 and measure 27. It sounds quite bright and fresh on a chord that usually sounds dark (half diminished) (Measure 25-27) 3. There are two classic ideas that are used on altered V7 chords that are worth learning in every key. Altering the V7 chord brings tension and color to a line, creating a sense of forward motion. Measure Measure 48 Miles Davis- My Funny Valentine Ella Fitzgerald- Clap Hands, Here comes Charlie 15. Night eyes- 1. The most difficult thing about this etude is the transition from latin to swing. The tendency is to rush the swing feel, especially on eighth notes (i.e. measure 25) Practice this transition by setting the metronome at half note =96 and working on the passage from measure Keeping in mind not to exaggerate, The latin eighth notes are a bit more straight, while the swing notes have a little bit more swing and lift to them. 2. The ideas in measures use the notes in what is known as the So What voicing, which were used by Bill Evans on that tune. They have an open sound using the 4 th interval at the bottom, with a third at the top. Measure 17-20
13 Page The tag uses the III-VI-II-V turnaound, which is a very typical way to extend the form of a song, either as an interlude (as in Green Fin ) or as a tag at the end of a piece. The tag here is a relatively short time, but you could use this type of progression and extend it on a gig indefinitely, cueing the last chord in end the piece. Listening suggestions- John Coltrane- Coltrane s Sound Sonny Rollins- The Quartets (RCA)
Tony Grey Bass Academy
Tony Grey Bass Academy BeBop Study Lesson 1 Step 1 Tony Grey Bass Academy This lesson is taken directly from inside the Tony Grey Bass Academy were we do a full course on all of the different approach
More informationWeekly Bass Lessons: Week 7 Walking Bass Line Concepts
Weekly Bass Lessons: Week 7 Walking Bass Line Concepts In this weeks lesson we will be focusing on some Walking Bass Line Concepts. The Chord Progression I m using is based on the changes to the popular
More informationMajor Pentatonic Scales: Lesson 1
Major Pentatonic Scales: Lesson 1 In the next 4 video lessons we will be looking at and discussing some simple concepts for creating grooves and groove solos. The 4 Lessons will focus on Using Major Pentatonic
More informationLevel 7. Piece #1 12 Piece #2 12 Piece #3 12 Piece #4 12. Total Possible Marks 100
Level 7 Length of the examination: 35 minutes Examination Fee: Please consult our website for the schedule of fees: www.conservatorycanada.ca Corequisite: Successful completion of the THEORY 3 examination
More information5 Miles Davis ii V I licks.
5 Miles Davis ii V I licks. BASS CLEF Matt Lawton WWW.MATTLAWTONBASS.COM MATTLAWTONBASS@GMAIL.COM About The Author Thanks for downloading my ebook! If you don t know who I am allow me to introduce myself;
More informationalbum for Impulse!, simply titled Duke Ellington & John Coltrane. The bassist and
John Coltrane s Solo on Take The Coltrane Transcription & Analysis by Seth Carper In 1962 John Coltrane and Duke Ellington went into the studio to record an album for Impulse!, simply titled Duke Ellington
More informationLevel 6. Piece #1 12 Piece #2 12 Piece #3 12 Piece #4 12. Total Possible Marks 100
Level 6 Length of the examination: 30 minutes Examination Fee: Please consult our website for the schedule of fees: www.conservatorycanada.ca Corequisite: Successful completion of the THEORY 2 examination
More informationJazz Fundamentals. Greg Polanik Coordinator Corina Iukovici Co-Coordinator. Academy for Lifelong Learning Cape Cod Community College Spring 2015
Jazz Fundamentals Greg Polanik Coordinator Corina Iukovici Co-Coordinator Academy for Lifelong Learning Cape Cod Community College Spring 2015 Chapter 4 Bebop Oo Bop Sh' Bam! Dizzy Gillespie Bebop 1945-1950s
More informationSCOOBY-SAX NEWSLETTER (July, 2011)
SCOOBY-SAX NEWSLETTER (July, 2011) Newsletter Items Tenor Conclave Website Updates INFORMATION http://www.scoobysax.com/ Welcome My intention is to publish this newsletter quarterly. Unfortunately, I missed
More informationFENDER PLAYERS CLUB THE ii-v-i
THE CADENTIAL USE OF THE DOMINANT SEVENTH CHORD The following figures demonstrate improvised melodic "lines" over common progressions using major, minor, and dominant seventh chords. In this lesson, we
More informationœ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ n œ ? b b ? b b œ # œ ? b b œ œ b œ ? b b œ œ œ b œ
Bass Lines WHERE THE PASSING TONES COME FROM Every chord has one or more scales which contain the chord tones (1,, 5, 7) and a set of passing tones (2, 4, 6). Diatonic, scale, passing tones come from the
More informationHS Virtual Jazz Final Project Test Option Spring 2012 Mr. Chandler Select the BEST answer
HS Virtual Jazz Final Project Test Option Spring 2012 Mr. Chandler Select the BEST answer 1. Most consider the most essential ingredient in jazz to be A. time B. jazz "sounds" C. improvisation D. harmony
More informationHarmonizing Jazz Melodies Using Clusters
Harmonizing Jazz Melodies Using Clusters As a jazz pianist, I am always looking for ways to arrange jazz tunes. One technique that I find myself working with involves using clusters in the right hand in
More informationChapter 1 - Jazz Guitar Chords Essential Jazz Guitar Chords For Beginners How to Transpose Guitar Chords... 13
1 2 Contents Chapter 1 - Jazz Guitar Chords... 8 17 Essential Jazz Guitar Chords For Beginners... 9 How to Transpose Guitar Chords... 13 Your First Jazz Chord Progression... 15 Essential Jazz Comping Rhythms...
More informationBlues Guitar E E E E E A E E E A E E A A E E A A E E A A E E B A E B B A E B B B E E
Blues music uses a 3 Chord Progression - I IV V Chord numbering example in the key of C: C = I, D = II, E = III, F = IV, G = V, A = VI, B = VII Examples of different scales A D E B E F C F G D G A E A
More information2 0 E X C L U S I V E J A M T R A C K S
Audio files, track documentation, and tabs in Guitar Pro and PDF formats. 2 0 E X C L U S I V E J A M T R A C K S M P 3 G P X P D F Expand your acoustic instrumentation with this exclusive set of JamTracks.
More informationIntro to Jazz Improvisation: Mus121b Tues. + Friday 12:30-1:50
Intro to Jazz Improvisation: Mus121b Tues. + Friday 12:30-1:50 Prerequisites: Ability to read music and facility on an instrument. This course explores some of the tools improvisers use to develop their
More informationpage title type location genre video audio
Guitar Training material contents: page title type location genre video audio 3 basic exercises exercise GT XL v a 4 technical exercises exercise GT XL a 6 practising tips exercise GT XL a 8 scales, interval
More informationBlues Guitar 101 Classic Licks
Blues Guitar 101 Classic Licks Essential Blues Guitar Licks and Phrases Written By: Matthew Warnock Audio By: Jack Taylor Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC mattwarnockguitar.com
More information11. Jazz Standards and Forms
11. Jazz Standards and Forms A typical performance of a jazz standard might take the following structure: o An introduction o The head (main melody) o Open-ended repetition of the form with improvisation
More informationTABLE OF CONTENTS ABOUT THE AUTHOR...4 INTRODUCTION...5
ABLE OF CONENS ABOU HE AUHOR...4 INRODUCION... CHAPER Getting Started 6 he Fretboard...6 Reading Standard Music Notation... Reading Bass ablature...9 Chord Symbols...9 Accidentals... 0 he Chromatic Scale...
More informationJazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues
Jazz Theory and Practice Module 4 a, b, c The Turnaround, Circles of 5ths, Basic Blues C. The Basic Blues If you ask a dozen musicians, you ll get at least a dozen answers to the question: What is the
More informationPractice Regimen. for Beginning Musicians. Learn how to focus your practice time to get the most out of it. By Ralph Martin
Practice Regimen for Beginning Musicians Learn how to focus your practice time to get the most out of it. By Ralph Martin 1 Written by Ralph Martin January 2008 All Rights Reserved 2 Purpose The purpose
More informationElements of Predictability
Advanced Harmonic Concepts Elements of Predictability There are a number of similar characteristics associated ith the composition and performance of standard jazz With these characteristics come a number
More informationVerse (Bars 5 20) The Contour of the Acoustic Guitar Riff
Verse (Bars 5 20) The Contour of the Acoustic Guitar Riff a. The Guitar riff starts with five descending stepwise notes (D#, C#, B, A# and G#), followed by six notes (G#) repeated at the same pitch, then
More informationThe Evolution of Jazz Blues Chords
The Evolution of Jazz Blues Chords Jazz blues chords, progressions and tunes appear throughout the Jazz genre in many different forms and arrangements. The influence of Blues on Jazz is undeniable. The
More informationLEVEL THREE. Please consult our website for the schedule of fees. REQUIREMENTS & MARKING
LEVEL THREE Length of the examination: Examination Fee: Co-requisite: 25 minutes Please consult our website for the schedule of fees. www.conservatorycanada.ca None. There is no written examination corequisite
More informationElectric Guitar Foundation Level 1
Electric Guitar Foundation Level 1 & INSTRUMENT The student should adopt the correct playing position including, how to hold the instrument and place both hands in the correct position. The student should
More informationAnalysis Of A Tune Based On The Changes To Solar
Analysis Of A Tune Based On The Changes To Solar Analysis The 1st step on our quest is to really understand Harmony, Form and Melody. I definitely recommend that you do check out the melody for the Standard
More information10 Must Know Jazz Guitar Licks
10 Must Know Jazz Guitar Licks Building A Vocabulary From Studying What The Masters Play Written By: Jamie Holroyd Edited By: Jamie Holroyd and Britt Reed 2012 Jamie Holroyd http://www.jamieholroydguitar.com/
More informationEasy Guitar Soloing Your stress free guide to soloing in the jazz guitar style.
Easy Guitar Soloing Your stress free guide to soloing in the jazz guitar style. Written By: Matthew Warnock Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC Expanded Preview Table of
More informationFREE music lessons from Berklee College of Music
FREE music lessons from Berklee College of Music Voice Leading for Guitar John Thomas Chapter Harmony Review and Introduction to Voice Leading Press ESC to cancel sound. Check out Berkleeshares.com for
More informationRock Modes III by Chris Botta
Rock Modes III by Chris Botta In our last lesson, we worked to solidify our concepts of modal improvisation by looking at how pentatonic scales are applied modally in everyday rock and blues, and also
More informationMINOR PENTATONIC LEAD - LESSON 1. Minor Pentatonic Lead 1
MINOR PENTATONIC LEAD - LESSON 1 Minor Pentatonic Lead 1 copyright 2011 lessonsbyjames What we will look at in this lesson is how to hold the guitar, hold the pick and deal with right hand picking techniques.
More information6 Mojolicious Guitar Scales
6 Mojolicious Guitar Scales 1. The Minor Pentatonic Scale A pentatonic scale is a scale that has 5 notes per octave. The minor pentatonic scale is commonly used to form solos in rock, blues, and many other
More informationJazz Lesson 20. Technique. Harmony & Theory
Lesson 20 Jazz Lesson 20 Technique 1. Minor Bebop Scale a. Playing minor bebop scales is going to be exactly the same as a dominant bebop scale fingering wise except for the fact that you will play a minor
More information150 Frequently Asked Questions about Improvisation
150 Frequently Asked Questions about Improvisation Copyright 2004 Visual Jazz Publications Here are some of the questions you may have wondering about when it comes to improvisation. Each question number
More informationCOMPLETE GUITAR COURSE
COMPLETE GUITAR COURSE Level 1 Week 1 00:00 Course overview and how to get started 01:50 The journey begins guitar tablature 02:37 How to read tab.pdf 02:46 Frets explained 03:23 How to play an A-minor
More informationVirginia Standards of Learning IB.16. Guitar I Beginning Level. Technique. Chords 1. Perform I-IV-V(V7) progressions in F, C, G, Scales
Guitar I Beginning Level Technique 1. Demonstrate knowledge of basic guitar care and maintenance 2. Demonstrate proper sitting position 3. Demonstrate proper left-hand and right-hand playing techniques
More informationJazz Theory and Practice Module 5 a, b, c Dim. 7 th & 9 th Chords; Extensions to the 13 th ; Other Harmonic Structures
Jazz Theory and Practice Module 5 a, b, c Dim. 7 th & 9 th Chords; Extensions to the 13 th ; Other Harmonic Structures B. Extensions: 9 th, 11 th and 13 th chords Jazz Theory and Practice Harmonic extensions
More informationColor Score Melody Harmonization System & User Guide
Color Score Melody Harmonization System & User Guide This is a promotional copy of the Color Score Melody Harmonization System from learncolorpiano.com Contents: Melody Harmonization System (Key of C Major)
More informationInstructions for BHS Jazz Auditions 2017 RHYTHM SECTION
Instructions for BHS Jazz Auditions 2017 RHYTHM SECTION Hello and welcome! Thank you for deciding to audition for the BHS Jazz Lab II band and/or the BHS Jazz Ensemble for the 2017 2018 school year. You
More informationFoundation Piano Level 1
Foundation Piano Level 1 Be able to sit comfortably in a balanced position and play with basic dynamics. Have a good hand shape without flat fingers. Read a range of notes over a fifth in both treble and
More informationCOMPLETE GUITAR COURSE
COMPLETE GUITAR COURSE Stage One Week 1 Complete Chapter List- Program length: 28:17 00:00 Course overview and how to get started 01:50 The journey begins guitar tablature 02:37 How to read tab.pdf 02:46
More informationChromatic Chord Tone Patterns
A scale-like approach to add chromatics to Gypsy Jazz improvisation By Jim Vence March 2011 As a progressing Gypsy Jazz improviser, you have been probably working on your chord and arpeggio patterns, as
More informationCover Page. Author: Graaf, Dirk Pieter de Title: Beyond borders : broadening the artistic palette of (composing) improvisers in jazz Date:
Cover Page The handle http://hdl.handle.net/1887/57415 holds various files of this Leiden University dissertation Author: Graaf, Dirk Pieter de Title: Beyond borders : broadening the artistic palette of
More informationHarmonic Plumbing Mark White Whitmark Music Publishing
Harmonic Plumbing Mark White Whitmark Music Publishing I borrowed the term "Harmonic Plumbing" from the liner notes of a Bill Evans album. In plumbing, one can find any number of different routes to connect
More informationHarmony for Jazz Guitar
Harmony for Jazz Guitar By David Chavez Music s only purpose should be the glory of God and the recreation of the human spirit. Johann Sebastian Bach For David, Michael and Aaron 1 INTRODUCTION Improvisation
More informationLEVEL FOUR. Please consult our website for the schedule of fees. REQUIREMENTS & MARKING ONE SUPPLEMENTARY 10
LEVEL FOUR Length of the examination: Examination Fee: Co-requisite: 25 minutes Please consult our website for the schedule of fees. www.conservatorycanada.ca None. There is no written examination corequisite
More informationChord Tones: Targeting Blues Guitar. Chord Tones: Targeting Blues Guitar
Chord Tones: Targeting Blues Guitar Chord Tones: Targeting Blues Guitar In this chord tones lesson we will learn to target the notes in each individual chord of the 12-bar blues progression and adjust
More informationCompanion to the Cape Breton Piano Accompaniment Online Workshop Winter 2012
Companion to the Cape Breton Piano Accompaniment Online Workshop Winter 2012 I ve written this companion with the intention that the information presented here will help solidify the concepts outlined
More informationAn Approach to Jazz Piano
An Approach to Jazz Piano Fifth Edition Introduction This book is an attempt to address the techniques of piano playing as applied to the playing of jazz. It is also an attempt to address theoretical knowledge,
More informationProject Two - Building a complete song
Project Two - Building a complete song Objective - Our first project involved building an eight bar piece of music and arranging it for three backing instruments. In this second project we will consider
More informationA Guide To Change Running (A Quick Overview) Forward
A Guide To Change Running (A Quick Overview) Forward It s just music, it s playing clean and looking for the pretty notes - Charlie Parker Regardless of how it s labeled: Change Running, Running the Changes,
More informationFREE music lessons from Berklee College of Music
FREE music lessons from Berklee College of Music Jazz Composition Theory and Practice Ted Pease Chapter 2 Harmonic Considerations Modal Harmony Click CD icons to listen to CD tracks from book. Press ESC
More informationApproach Notes and Enclosures for Jazz Guitar Guide
Approach Notes and Enclosures for Jazz Guitar Guide As a student of Jazz guitar, learning how to improvise can involve listening as well as learning licks, solos, and transcriptions. The process of emulating
More informationHow to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007
How to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007 There are different forms of jazz improvisation. For example, in free improvisation, the player is under absolutely no constraints.
More information========= Playing Outside C HAPTER E IGHT
========= Playing Outside P LAYING O UTSIDE C HAPTER E IGHT Sequences Playing a Half Step Away Playing a Tritone Away Playing Scales to Get Outside Some Piano Stuff The Chromatic Scale Be Brave, Go Ahead
More informationTable of Contents SESSIONS PAGE
Table of Contents SESSIONS PAGE SESSIONS PAGE 1) Starting Off Right 2 String Names, Technique, Tuning, Finger Exercises, C & G7 Chords 2) Reading Music & Notes on the 1st & 2nd Strings 7 Music Reading,
More informationPat Metheny. (Across the) Heartland Ensemble: Danny Gottleib. Keywords: Ostinato Pentatonic Diatonic Syncopation Polymetric Motif Motif Variant
Pat Metheny 5 (Across the) Heartland-1979 Keywords: Ostinato Pentatonic Diatonic Syncopation Polymetric Motif Motif Variant Key Features of Jazz Fusion: Jazz Fusion began in the late 60s when jazz artists
More informationJPS Lesson 37. Technique
JPS Lesson 37 Technique 1. Hexatonics Series Part 1 C7Sus (bvii, I) Our hexatonic scale is very similar to our pentatonic scale except we are combining two triads two form a six note scale. The combination
More informationTable of Contents SESSIONS PAGE
Table of Contents SESSIONS PAGE SESSIONS PAGE 1) Starting Off Right 2 String Names, Technique, Tuning, Finger Exercises, C & G7 Chords 2) Reading Music & Notes on the 1st & 2nd Strings 7 Music Reading,
More informationTable of Contents SESSIONS PAGE
Table of Contents SESSIONS PAGE SESSIONS PAGE 1) Starting Off Right 2 String Names, Technique, Tuning, Finger Exercises, C & G7 Chords 2) Reading Music & Notes on the 1st & 2nd Strings 7 Music Reading,
More informationTranscription. Music Analysis Essay SAYS YOU. Composed by Sam Jones As played by Wes Montgomery On Movin Along. Transcribed by Mathias Baumann
Transcription Music Analysis Essay SAYS YOU Composed by Sam Jones As played by Wes Montgomery On Movin Along Transcribed by Mathias Baumann BAJP Year 3 01/04/2012 Table of contents Album Information 4
More informationSOLO and ENSEMBLE PROFICIENCY SCALES WIND and MELODY PERCUSSION INSTRUMENTS These scales are not listed in concert pitch.
SOLO and ENSEMBLE PROFICIENCY SCALES WIND and MELODY PERCUSSION INSTRUMENTS These scales are not listed in concert pitch. Required Scale Rhythm: Chromatic: Even Rhythm Such as even eighth notes or triplets
More information29 Blues Jam Tracks. 29 Blues Jam Tracks in various blues styles for practicing playing with a group and improvising.
2 Blues Jam Tracks 2 Blues Jam Tracks in various blues styles for practicing playing with a group and improvising. By Griff Hamlin Thank you to my wife, Laura, and my family for your continued support
More informationEverything should be made as simple as possible, but not simpler Albert Einstein
Everything should be made as simple as possible, but not simpler Albert Einstein No part of this publication, such as the music, text, design or graphics, may be reproduced in any form, or by any means,
More informationGUITAR SYSTEM THE. Beginner
Beginner GUITAR SYSTEM THE Beginner The Guitar System - Beginner - Table Of Contents Table Of Contents DVD #6 - Minor Chords And Walk-Downs Open Minor Chords...................................................................
More informationPERFORMANCE GENERALITIES THE SWING
PERFORMANCE GENERALITIES THE SWING In a nut shell, Swing is dividing the beat in 2 uneven parts (in a longshort pattern), and moving the accents from the downbeats (as in classical music) to the upbeats.
More informationRhythm. Chords. Play these three chords in the following pattern of 12 bars.
This is a very short, brief, inadequate, introduction to playing blues on a guitar. Shown is a twelve bar blues in A because it's easy to get started. Have fun! Rhythm You've heard this rhythm before:
More informationVoice Leading By Jim Stinnett
Voice Leading By Jim Stinnett Voice Leading is the second lesson in this four-part series on walking bass line construction. In this lesson, we will illustrate how voice leading can be used to enhance
More informationCadences Ted Greene, circa 1973
Cadences Ted Greene, circa 1973 Read this first: The word diatonic means in the key or of the key. Theoretically, any diatonic chord may be combined with any other, but there are some basic things to learn
More informationScarborough Fair. Chord Solo Arrangement by Karl Aranjo. Karl Aranjo,
Karl Aranjo, www.guitaru.com This study is an arrangement of a classic British folk ballad called. Although the song dates back to at least the Renaissance period, a version of it was made popular by the
More informationLearned your scales what s next? By John Cipolla
Learned your scales what s next? By John Cipolla This article suggests ways to practice scales on the clarinet or saxophone to develop a keener sense of rhythmic and metric awareness. With practice, these
More informationBlues Guitar 101 Solos
Blues Guitar 101 Solos How to Build Exciting and Creative Blues Solos Written By: Matthew Warnock Audio By: Jack Taylor Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC mattwarnockguitar.com
More informationTip 1: Listen to different styles of music
1 P a g e Tip 1: Listen to different styles of music Listening to different styles will open the door to new playing techniques, harmonies, rhythms, effects and more! If you close yourself off to only
More informationJazz-Blues changes based on Joe Pass chord-melody solo The Blues. 50shadesofguitar - The Guitar Blog
27/12/2016 Jazz-Blues changes based on Joe Pass chord-melody solo The Blues 50shadesofguitar - The Guitar Blog Here you can see 2 choruses of the changes from great Joe Pass Blues transposed to all 12
More informationPreview Only. Legal Use Requires Purchase. The Days of Wine and Roses JAZZ. Music by HENRY MANCINI Lyrics by JOHNNY MERCER Arranged by MIKE LEWIS
a division of Alfred JAZZ The Days of Wine and Roses Music by HENRY MANCINI Lyrics by JOHNNY MERCER Arranged by MIKE LEWIS INSTRUMENTATION Conductor 1st Eb Alto Saxophone 2nd Eb Alto Saxophone 1st Bb Tenor
More informationMUSIC THEORY GLOSSARY
MUSIC THEORY GLOSSARY Accelerando Is a term used for gradually accelerating or getting faster as you play a piece of music. Allegro Is a term used to describe a tempo that is at a lively speed. Andante
More informationEar Training Exercises Ted Greene 1975, March 10 and May 8
Ear Training Exercises Ted Greene 1975, March 10 and May 8 PART 1 Wherever the word sing is used, you might wish to substitute hum or whistle if you prefer to do these. If you do sing the exercises you
More informationSECTION I: JIMMY RANEY S IMPROVISED LINE (ORIGINAL RELEASE: 1986, EDITED & UPDATED: 2012) Copyright, Jon Raney All rights reserved.
1 SECTION I: JIMMY RANEY S IMPROVISED LINE (ORIGINAL RELEASE: 1986, EDITED & UPDATED: 2012) Copyright, Jon Raney 2012. All rights reserved. This document has been made available on a limited permission
More informationAnd please check out our full on video instructional website at now let s get to it!
Here are a few lessons from the lead guitar manual that goes with the Rock Jam Tracks Plus and Blues Jam Tracks Plus packages. The lead guitar manual that come with the CDs are over 53 pages each absolutely
More informationMinor Pentatonic & Blues Scales - four great applications:
Minor Key Soloing You want to be comfortable soloing in both minor key and major key. If a progression is in minor key you can usually solo with Minor Pentatonic & Blues Scales over ALL the chords, (with
More informationImprov Pathways. Table of Contents. CD 1 Track List
Introduction & CD Track Lists........ 1-3 Lessons 1-8: The I Chord............ 4-14 Head Charts: I Chord.............. 15-16 Lessons 9-13: The IV Chord........ 17-23 Head Charts: I & IV Chords........
More informationRock Guitar Chords: Open Position. Rock Guitar Chords: Open Position
Rock Guitar Chords: Open Position Rock Guitar Chords: Open Position Rock Guitar Chords: While open-position chords are often associated with acoustic guitar playing, they are also a regular part of many
More informationRICK PAYNE S FINGERSTYLE BLUES
RICK PAYNE S FINGERSTYLE BLUES 10 lessons in the art of Fingerstyle Blues acousticguitarworkshop.com Welcome to the Fingerstyle Blues - 10 lessons in the art of Acoustic Blues Here is a resume of the course.
More informationGypsy And Jazz Arpeggio Book Arpeggios and Tricks
Gypsy And Jazz Arpeggio Book Arpeggios and Tricks Yaakov Hoter P a g e 1 TABLE OF CONTENTS Arpeggios... 3 Rest-stroke Picking... 5 Daily Practice... 8 Major Vertical Arpeggios... 9 Minor Vertical Arpeggios...
More informationTable of Contents SESSIONS PAGE
Table of Contents SESSIONS PAGE SESSIONS PAGE ) Starting Off Right 2 String Names, Technique, Tuning, Finger Exercises, C & G7 Chords 2) Reading Music & Notes on the st & 2nd Strings 7 Music Reading, st
More informationUltimate Songwriting Jumpstart Module 4 Song Structure & Awesome Arrangements. epicsongwriting.com
Ultimate Songwriting Jumpstart Module 4 Song Structure & Awesome Arrangements epicsongwriting.com Chord Progressions History of chords Key & Key Signature, Scales Nashville Numbers Functional Progressions
More informationTarget Intervals in Jazz Blues Guitar. Target Intervals in Jazz Blues Guitar
Target Intervals in Jazz Blues Guitar Target Intervals in Jazz Blues Guitar When learning to solo on a jazz blues it is important to learn to target intervals in each chord of the progression. This will
More informationMUSIC SOLO PERFORMANCE
Victorian Certificate of Education 2008 SUPERVISOR TO ATTACH PROCESSING LABEL HERE STUDENT NUMBER Letter Figures Words MUSIC SOLO PERFORMANCE Aural and written examination Tuesday 11 November 2008 Reading
More information1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 The
More informationESSENTIAL TECHNIQUES - -
THE GUINNESS 500 - Techniques & Glossary A Bebop Blues in F for 500 Harps - Premiere at the World Harp Congress in Amsterdam - Summer 2008 Deborah Henson-Conant www.hipharp.com The Guinness 500 is swing
More informationA FUNDAMENTAL APPROACH TO A WALKING BASS LINE IN JAZZ STYLE. Tanarat Chaichana
A FUNDAMENTAL APPROACH TO A WALKING BASS LINE IN JAZZ STYLE Tanarat Chaichana Abstract As a jazz bass player, the best quality of a walking bass line is the primary concern. The jazz bassist s usual role
More informationYou can upload a maximum of six files, so you ll need to combine several scales and arpeggios into one or two files.
Bass app. 1 Jazz Port Townsend 2018 Bass Application Guidelines for New or Returning Applicants After you have chosen whether you would like to audition for the BEGINNER/INTERMEDIATE, ADVANCED or SEMI-PRO
More informationIntroduction to Lead Guitar. Playing Scales-Introducing the Minor Pentatonic Scale
Lesson Nineteen Gigajam Guitar School Lesson 19 IGS ILGP Introducing Lead Guitar Playing Lesson Objectives. Introduce the idea of playing individual notes as a Scale. Introduce and be able to play a Minor
More informationImprov Pathways. Table of Contents. CD 1 Track List
Introduction....................... 1-2 Lessons 1-8: The I Chord............ 3-10 Head Charts: I Chord.............. 11-12 Lessons 9-13: The IV Chord........ 13-17 Head Charts: I & IV Chords........ 18-19
More informationWMHFA Solo and Ensemble Festival
Honors Track - Information and Rules Entrance Requirements Purpose: To select the best performers for Honors Ensemble Concert to Perform in May under the direction of a college or professional conductor.
More informationSCOOBY-SAX NEWSLETTER (August, 2013)
SCOOBY-SAX NEWSLETTER (August, 2013) Welcome Well, it has been quite a while since I sent out a Newsletter! Hopefully you will find that it was been worth the wait. The main focus of this issue is the
More informationDEEP BROWN A STYLE STUDY JAZZ BASSIST RAY BROWN. Andrew Rice. A Thesis Submitted in. Partial Fulfillment of the. Requirements for the Degree of
DEEP BROWN A STYLE STUDY OF JAZZ BASSIST RAY BROWN by Andrew Rice A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in Jazz Studies at The University of the
More information